Multi reeds and clarinets player Niels Klein is also a multiple musical awards holder, just like the rest of members in his Tubes and Wires quartet. As I mainly know him from his work with EJO I hardly had any exclamations once this music arrived. Watching instrumentalists there one would expect some electric jazz like approach perhaps ? But its a no , no.
With Burkwinkel on drums I am confident that they can play whatever they like. Remaining two musicians , guitarist and keyboardist are new faces to me as well, which is always a nice challenge.
Music presented here is quite extraordinary. It deviates from a jazz idiom significantly, exploring different sorts of fusion territory. There are traces of rock and psychedelic influences, but also numeric reminiscences to the chamber music of the modernism era.
All is merged together in clever way bringing wonderful textures to the surface.
In a piece like Perpetual Waves for example we are getting some kind of alienation, almost sci-fi picture with the way the electronics is used to co- sound with wind instrument. After the break guitar with connection with rocky drums extending it into a more psychedelic plot , but still the leader’s contra-alto clarinet supported by electronic effects are making a core of the tune.
Similar suspense like sound-scapes are coming from another tittle: Beams. Here the feeling of open space builds on the wave background supplied by Rhodes brings very holographic feelings. Camarudo changes that hang on laid back with speedy bravado theme supplied in fast tempos from the bass clarinet solo, soon joined by all band ride thickening the structure of the picture. More hymnal Gleam brings me memories of Arne Domnerus due to its bluesy and antiphonal character and a gentle harmony build between the clarinet and organs, but rhythmic section takes it back to the Scofield-esque aesthetic of his group from the 80-ies.
Closing tittle tune is one of the most attractive to me as it builds on lovely clarinet riffs joined by the grudge like section aka early bass lines from The Pixies. On such a background leader’s trips occasionally dialogue with Moog piano supplying wonderful musical tissue full of subtle tonal weaving masterly made by both musicians.
Same qualities come with an opening Launch Pad Disco tune which sets up the mood for the land of changes. Worn Out Lifelong Machine is probably the most challenging in that regard. Sounds coming from the synthesisers are merged with electronically modulated lines from clarinets in the way which makes is hardly possible to recognise what is what. On the other hand this enhanced octaves experience is like listening to the voice of the castrato, which is equally beautiful as it is unreal.
All together it is very unusual recording exploring a lot of virgin lands and bringing a charm of something new to my ears. Sonority of this acoustic- electric passages are spelling charm over the listener and engage an imagination. Simple beauty of the harmonies alone would be enough to be pleased, but the fact that they are also extraordinarily composed makes them timeless.